By Ajijaak Mu -He-Kan
A Deep Rooted Legacy
Indigenous art in Canada is one of the oldest and richest artistic traditions in the world, with roots extending back more than 10,000 years. From the intricate beadwork and quill embroidery of the Plains Nations, to the carved totem poles of the Northwest Coast, to the pictographs of the Shield Country, Indigenous art is both spiritual and utilitarian — embedded in daily life, ceremonial purpose, and cosmological teachings.
These works were not just artistic expressions; they were — and remain — carriers of story, identity, knowledge, and law. Each motif, material, and method reflects the land, the people, and a worldview that sees spirit in all things.
Early Contact and Suppression
The arrival of European settlers and the colonization of Indigenous lands disrupted this long-standing continuity. Missionary efforts and government policies sought to suppress Indigenous cultural expressions — including art. Ceremonies were outlawed, sacred objects were confiscated, and generations of children were placed into residential schools where artistic traditions were often deemed pagan or irrelevant.
In many cases, the production of traditional art was driven underground or halted entirely. Art forms like the potlatch, mask carving, and drum making were criminalized under the Indian Act. Sacred images were removed from community life and displayed in museums as anthropological curiosities, severing their cultural context and ceremonial meaning.
Despite this, Indigenous peoples preserved their practices in quiet defiance — through oral tradition, secret gatherings, and adaptation.
Societal Adoption and Misrepresentation
Ironically, even as Indigenous art was being suppressed, it was also being appropriated. Non-Indigenous artists and collectors began to exhibit and reproduce Indigenous forms in Western-style art shows and decorative items, often without credit or compensation to the original creators. Souvenir markets flourished with imitation “Native” designs, commodifying cultural imagery while ignoring the voices and rights of Indigenous artists themselves.
This tension between celebration and exploitation created a deep divide — one that continues to challenge the industry today. Authentic Indigenous art was both marginalized and mimicked, often misrepresented by those outside the community.
Pioneering Artists and Cultural Reclamation
The 20th century saw the emergence of Indigenous artists who began to reclaim their voices and reintroduce their work into the broader art world on their own terms.
Notable artists include:
• Norval Morrisseau (Anishinaabe) – Known as the founder of the Woodland School of art, Morrisseau’s work bridged spiritual imagery with contemporary acrylics, ushering in a new era of Indigenous expression.
• Daphne Odjig (Odawa-Potawatomi) – A groundbreaking painter and activist whose work addressed colonial violence and Indigenous strength.
• Bill Reid (Haida) – A master sculptor and carver who brought Haida art to international prominence through monumental public works.
• Kenojuak Ashevak (Inuit) – Famed for her printmaking and drawings, particularly her iconic The Enchanted Owl, which helped bring Inuit art into national focus.
• Alex Janvier (Dene/Saulteaux) – A residential school survivor who incorporated Western techniques into traditional storytelling, blending abstraction and resistance.
These artists and many others laid the foundation for a modern Indigenous art renaissance by challenging stereotypes and asserting Indigenous presence in contemporary galleries and institutions.
Resurgence and Revitalization
In recent decades, Indigenous art has experienced a profound revitalization fueled by cultural resurgence movements, political advocacy, and a growing awareness of reconciliation. Art has become a powerful vehicle for healing, resistance, education, and cultural pride.
Key factors contributing to this resurgence include:
• The Truth and Reconciliation Commission (TRC) and its Calls to Action, which elevated the role of Indigenous culture in healing and public education.
• Funding and support from arts councils and institutions specifically for Indigenous-led projects.
• Cultural revitalization movements in communities, including language reclamation and traditional arts workshops.
• Digital platforms such as Miskwaadesi M’Nauhan Digital Arts, allowing artists to reach audiences globally and bypass traditional gatekeepers.
Indigenous artists today are reclaiming traditional techniques while pushing boundaries — integrating installation, performance, digital media, and contemporary commentary into their work.
Fusions, Evolutions, and the Future
The current era of Indigenous art in Canada is marked by dynamic fusion — traditional motifs meet contemporary design; ancestral teachings are reimagined through modern technologies.
Artists like:
• Kent Monkman (Cree) – who blends classical European painting styles with queer Indigenous narratives,
• Jordan Bennett (Mi’kmaq) – whose work transforms traditional motifs into neon installations and 3D printing,
• Tara Hogue (Métis) – as a curator elevating Indigenous contemporary art in institutional spaces,
demonstrate the vibrant intersections of Indigenous identity with global art movements.
What remains constant, however, is the grounding in community, the honoring of Elders and ancestors, and the use of art as both expression and transformation.
Art as Witness and Catalyst
Indigenous art in Canada has endured colonization, commodification, and cultural suppression — and has emerged as a resilient force of identity, beauty, and resistance. From birchbark biting and beadwork to augmented reality and video installations, Indigenous artists continue to innovate while remaining anchored in cultural truth.
The resurgence of Indigenous art is not simply an artistic trend. It is part of a broader movement for justice, equity, and the restoration of Indigenous worldviews. As society begins to truly recognize and value these expressions, Indigenous art will continue to inspire, educate, and reshape the cultural fabric of this land — not as a footnote, but as a foundation.
By Ajijaak Mu-He-Kan In the ever-evolving landscape of reconciliation, cultural recognition, and economic inclusion in Canada, Miskwaadesi M’Nauhan Decorative Arts Inc. emerges